H. Donatus, martelaer, / Beschermer in onweder / S. Donat, martyr, / Patron contre la tempete et la foudre 1833 - 1911

Curator: Looking at this hand-colored engraving, its simplified lines and localized palette create an interesting space. There’s a naive yet reverent quality to the figure and surrounding narrative elements. Editor: This is a depiction of Saint Donatus, dating somewhere between 1833 and 1911 by Brepols & Dierckx zoon. As the text indicates, the composition illustrates the martyrdom of Saint Donatus, who became a protector against storms and lightning. I find the relationship between devotion and environmental anxieties in this image compelling. Curator: Indeed, these weather-related patron saints reveal something about the vulnerability of everyday life throughout history. One might read it through a lens of ecological and social justice, highlighting our human dependence on weather conditions. And look—notice how the rendering of lightning, although rudimentary, dominates the pictorial space above? Editor: I'm drawn to the duality presented here; Saint Donatus offers divine protection. This touches on a fundamental aspect of cultural history – how social institutions, in this case, the Church, shaped artistic production, using imagery to propagate specific beliefs. See how a church occupies a prominent spot, signaling a relationship between civic spaces and religious identity. Curator: Considering our current political landscape, could it be seen as speaking to the power of faith as a counter-narrative? The community and cultural resilience it generates through visual representation. Perhaps it presents a potent vision, even today. Editor: The accessibility of a print like this is striking—available widely to impart this religious narrative, solidifying cultural memory. We could spend ages considering the dynamics between institutions, the people, and imagery. Curator: It certainly feels significant that this artifact resides here at the Rijksmuseum. Editor: Agreed. The work makes us look closer not only at Saint Donatus himself, but at how religious and cultural frameworks operated through accessible, widespread imagery.